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sinceileftyoublog · 6 years

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Live Picks: 5/11-5/20

Jess Williamson; Photo by Kari Rosenfeld

BY JORDAN MAINZER

I’ll be in London from tonight until the 19th, so I wanted to get you covered until the 20th!

5/11: Shabazz Palaces, Empty Bottle

When we saw Shabazz Palaces at Riot Fest last year, we noticed the headiness and understated nature of the set in comparison with other sets at the festival. Seeing them in a small venue, in contrast, is ideal.

Experimental hip hop band Leaf Set opens. Jill Hopkins of Vocalo Radio DJs before the show.

5/11: Kem, Anthony Hamilton, & Eric Benet, Wintrust Arena

The R&B Super Jam tonight at Wintrust Arena features a diverse lineup. There’s quiet storm artist Kem, who mixes spirituality and love on albums like Intimacy. There’s the best known, neo soul singer Eric Benet. And then there’s Anthony Hamilton, whose Back To Love remains one of the best R&B albums of the decade and who often finds himself collaborating with hip hop artists, unlike the other two. Whether they play together or alone or a mix of both, it’ll be sure to be a great show.

5/11: Loma & Jess Williamson, Schubas

Loma, the band consisting of Shearwater’s Jonathan Meiburg and Emily Cross and Dan Duszynski from Cross Record, has only their self-titled debut, which we enjoyed very much. In a headlining set, they should be able to play most or all of it. The extent to which they replicate live an album that’s loaded with effects and nature sounds is to be seen.

Jess Williamson follows up 2016′s great, stark Heart Song with something much more expansive. Cosmic Wink, out today, is her Mexican Summer debut. It’s inspired by her move from Texas to California, new love, and the death of her dog. “When I don’t know what home is, I can turn into your arms,” Williamson sings on album closer “Love On The Piano”. It’s a sweet sentiment, but the rest of the album, despite the romance, still has those Texas high and lonesome qualities--it was recorded there, after all. Opener “I See The White” recalls some of the more melancholy tracks on Angel Olsen’s My Woman, while the Rhodes-laden “Wild Rain” is desolate and emotive.

Williamson will also be doing an in-store performance and signing at Shuga Records at 5 P.M.

5/11: Bing & Ruth, Constellation

The last time we saw ambient classical collective Bing & Ruth, they put us in a trance playing their great No Home of the Mind. Sine then, they’ve released an EP, Dorsal, as well as a single, the gorgeous “Quebec (Climber)”, released as part of the upcoming Stadiums & Shrines 10th anniversary compilation Dreams.

TüTH, the industrial project of Disappears bassist Damon Carruesco, opens. Brent Heyl DJs before the show.

5/11: Meat Wave, Catapult Records & Toys

Here’s what we wrote about Meat Wave when they opened for Hot Snakes at Thalia Hall back in March:

“If you’ve read us for the past few years, you know we love the songs and shows ever-ascending local heroes Meat Wave, having covered three different sets of theirs. Their last full-length release was 2017′s The Incessant, but earlier this year, they released two new songs, one-minute stomper 'Shame' and creepy slow-burner 'Dogs At Night'. Subtle, but still just as pummeling; their set should contain a lot of the latter, and not much of the former. Be thankful for that.”

Local two-piece punk band Drilling For Blasting and UK grunge band Strange Planes open.

5/11 & 5/12: Lizzo, Aragon

I’ve been a fan of Minneapolis hip hop artist Lizzo since her 2013 debut Lizzobangers, which she followed up in 2015 with Big GRRRL Small World. The former established her as a dexterous, hyperactive MC with a feminist tilt. She showed off her singing chops on the latter. But her 2016 EP Coconut Oil and tracks she’s released recently see her going in many different directions. The title track to the former is soulful and infused with gospel, while new tracks like “Truth Hurts” and “Fitness” are some true Lizzo bangers.

Fleetwood Mac worshipers Haim headline.

5/12: Helen Money, Hungry Brain

Cellist Alison Chesley is classically trained, but that’s right where formality ended. She started Verbow with Jason Narducy and then, after Verbow broke up, was a session musician in Chicago. But it wasn’t until her first solo album Helen Money and her subsequent adoption of the moniker that she truly started pushing the cello to its limited. Fast forward to 2016, and Chesley released her magnum opus Become Zero. Featuring Neurosis’ Jason Roeder and Rachel’s Rachel Grimes, Become Zero is a true mash of genres, bending the lines between experimental noise and metal while Chesley used digital processing for the first time. It was to great effect, as she made an album as full of sorrow and empathy as harsh soundscapes.

She plays with Peter Maunu and Carol Genetti, who play an opening set of their own.

5/12: Moritz von Oswald, Smartbar

Moritz von Oswald was one of the most influential 90′s dub techno producers, having done great work with both Basic Channel and Maurizio. Over the past 10 years or so, he’s branched out under his own name, whether with Detroit pioneers Carl Craig and Juan Atkins, by himself, or with the Moritz von Oswald Trio, his project with Sun Electric and Vladislav Delay. (I’m particularly fond of their album Fetch.) The Hamburg master should give a fantastic DJ set.

Deep techno DJ Olin and TEXTURE Detroit resident and founder Soren and Jacob Park open.

5/12: Speedy Ortiz, Subterranean

In 2015, Speedy Ortiz followed up their great debut Major Arcana with the even better Foil Deer. Supporting that album, they improved tenfold as a live band. When they went to record what would become their third album Twerp Verse, the 2016 U.S. presidential election happened, and they scrapped the strictly personal stuff and went political. Sadie Dupuis and company have always been political from a social and feminist perspective, but not so outspoken as on Twerp Verse. Musically, the album is consistent with Dupuis’ solo project Sad13, embracing the synth and Dupuis’ ever-improving voice over the wiry guitars for which the band first became known.

Local hero Nnamdi Ogbonnaya and Ohio band Didi open.

5/12: Vijay Iyer Sextet, Constellation

Vijay Iyer is captivating by himself and in duo form. So performing his sextet material (last year’s great Far From Over) with a steady band (besides a set of rotating drummers) should be a captivating live show. The band includes horn players Graham Haynes, Steve Lehman and Mark Shim alongside bassist Stephan Crump and drummer Marcus Gilmore.

There are two shows: one at 8:30 P.M. and one at 10:00 P.M.

5/13: Bill MacKay & Ryley Walker, Cafe Brauer

They’ve already turned upside-down one wholesome holiday. Whose to say they won’t do it at Mother’s Day Brunch at the Lincoln Park Zoo? Over/under on Walker banter about yoga pants stands at 2 jokes.

Walker’s release shows for his new record Deafman Glance, out next Friday, are on 5/18 and 5/19. We previously wrote that Deafman Glance is “an arty record, subdued, embracing of free jazz and minimal synth music as much as folk.”

5/13: Obituary, Pallbearer, & Skeletonwitch, Metro

Obituary’s self-titled album, released last year, wasn’t just a return to form. It’s one of their best records, one that stands to refine the death metal tropes the band has been exploring from the get-go, from the swirling riffs of “Kneel Before Me” to the stomping “Lesson In Vengeance”. The songs should sit well beside the band’s catalog.

Last year, Pallbearer followed up their breakout album Foundations of Burden with the divisive Heartless. We liked but didn’t love Heartless. Either way, whatever you think of the band, they’re becoming better and better live. They just released a new single, “Drop Out”, and mini-documentary to go along with it, as part of Adult Swim Singles Program. It’s your typical track from the Arkansas band: lead singer Brett Campbell goes full-on Ozzy Osbourne, while the divide between the sky high electric guitars and guttural electric bass is larger than ever.

Despite turning over band members quite a bit, Ohio metal band Skeletonwitch is remarkably consistent, from 2011′s great Forever Abomination to 2013′s Serpents Unleashed. They release their sixth full-length Devouring Radiant Light in July and have released a single, the epic and black “Fen Of Shadows”. It showcases new vocalist Adam Clemans (who first appeared on their 2016 EP The Apothic Gloom) while reminding you why you’ve always loved the band: the dynamism between guitarists Nate Garnette and Scott Hedrick.

German thrash metal band Dust Bolt opens.

5/14: Damien Jurado & The Light, Lincoln Hall

Singer-songwriter Damien Jurado has been popping up here and there since the 90′s to release an occasionally jaw-dropping, brilliant record, like 2003′s Where Shall You Take Me? or the trilogy of Maraqopa, Brothers and Sisters of the Eternal Son, and Visions of Us on the Land. A week ago, he released his 13th studio album, the gentle The Horizon Just Laughed. While it might not have the psychedelic leanings of his best work (save for “Silver Timothy” sibling “Florence-Jean”), it’s sparse and gorgeous nonetheless.

Afro-folk singer-songwriter Naomi Wachira opens.

5/15: Justin Townes Earle & Lilly Hiatt, SPACE

Justin Townes Earle played City Winery back in February. Here’s what we wrote about him then:

“The Justin Townes Earle of 2018 may not be as exciting as the same singer-songwriter who released the mighty one-two punch of Midnight at the Movies and Harlem River Blues almost 10 years ago, but he’s got so many good songs across his discography that it’s almost better to see him live than take a deep dive into his discography. He quietly released his 7th album, Kids in the Street, in 2017, and it’s probably his best since Harlem River Blues, but you know the crowd’s gonna cheer the loudest for 'They Killed John Henry' and 'One More Night in Brooklyn'.”

Nashville singer-songwriter Lilly Hiatt recruited a new band for her third album Trinity Lane, and it’s her best record yet. With John Condit on guitar, Robert Hudson on bass, and Allen Jones on drums and production by Michael Trent of Shovels & Rope, Hiatt has found the perfect sound for sad stories like “The Night David Bowie Died” and honky tonk jams like “See Ya Later” alike.

5/16: Asking Alexandria, The Forge

Back in January, Asking Alexandria co-headlined the Riviera with Black Veil Brides. They co-headline The Forge with Black Veil Brides this time. Here’s what we wrote about them then:

“British metalcore band Asking Alexandria perhaps peaked with 2016’s The Black. While their new self-titled album, released last month, is an interesting departure in their sound, opting for more straightforward, melodic hard rock, it makes you miss the band’s louder moments.”

Scottsdale metalcore band Blessthefall open.

5/16: Rival Consoles, Empty Bottle

Persona, the latest album by Rival Consoles, is purportedly inspired by the Ingmar Bergman film of the same name. What’s more obvious is its obsession with perception, space, light, and darkness. His use of analogue-heavy synths, acoustic and electric instruments, and effect pedals creates a sonic world that travels faster than the speed of light between beauty and ugly. Songs titled like “Unfolding” do what their title suggests, slowly developing into a beat. The title track skitters, “Memory Arc” attacks like a monster, and “Phantom Grip” loops ominously. And then there’s Nils Frahm collaboration “Be Kind”, a truly light moment on a record, and one that exemplifies the spirit of shared label Erased Tapes.

Local experimental acid house project Africans With Mainframes opens.

5/16: Jean-Michel Blais, Constellation

Quebec composer and pianist Jean-Michel Blais has been slowly rising over the past few years. His debut album II was followed by an especially inspired collaboration with CFCF on last year’s Cascades EP, four tracks of original material and one John Cage rework. Today, he releases his second solo effort Dans ma main, which sees him combine his usual piano-led intimacy with synthesizer textures.

5/16: Power Trip & Sheer Mag, Reggie’s

Dallas thrash metal band Power Trip just released a collection of their earliest non-LP recorded material, showing the raw areas from where they came. 2013′s Manifest Decimation was their debut, but it was last year’s Nightmare Logic that brought them beyond the metal spheres to spots like a co-headlining tour with Sheer Mag.

As a live band, Sheer Mag stood out even before they released their best songs. Now that they’ve released the tracks, they’re on top of the world. Last year’s proper debut Need To Feel Your Love was an effective juxtaposition of 70′s radio rock with radical politics, accessible and loud enough to land on our top albums of the year list.

Orange County hardcore band FURY and DC punks Red Death open. The same bill plays Empty Bottle on 5/19.

5/17: Prong, Bottom Lounge

Groove metal legends Prong are still going strong. Albums like the excellent Carved Into Stone and last year’s Zero Days show that the band is still capable of telling a musical story from start to finish while making room for meaty riffs and complex arrangements, holding up alongside their 80′s and 90′s work.

New York alt metal band Helmet co-headlines.

5/17: Josh Rouse, SPACE

Josh Rouse’s best record is 1972, which combined 70′s songwriting and production techniques with personal, political songwriter. Love in the Modern Age is the 80′s equivalent. Is it as successful? Of course not. But the similarity between the two albums makes me think Rouse will play lots of 1972 favorites.

Synth pop singer-songwriter Deanna Devore opens.

5/17: Marc Ribot, Art Institute of Chicago

Marc Ribot is one of the most creative guitarists around. I’ve seen him do a one-man score to Charlie Chaplin’s The Kid, play with his Ceramic Dog band, and jam with Los Lobos’ David Hidalgo. This time around, he’s doing an in-gallery solo performance at the Art Institute of Chicago in response to the paintings of Ivan Albright, presented in association with the exhibition Flesh: Ivan Albright at the Art Institute of Chicago.

5/17: Wye Oak, Thalia Hall

The Louder I Call, the Faster It Runs completes Wye Oak’s transition from raw, guitar-and-drums folk band to expansive synth rockers. Front woman Jenn Wasner’s pop project Dungeonesse and solo project Flock of Dimes as well as Wye Oak’s previous two albums, Shriek and Tween, are clear predecessors to the new record, the band’s best since Civilian. Natural and unbridled, it shows the least restrained version of Wasner and percussionist Andy Stack. The title track’s interweaving arpeggio synths and squawking guitars are the perfect soundtrack to a song poking fun at those trying to find order within chaos. The vocal-driven, cinematic “My Signal” and layered, washy “You Of All People” round out the album’s highlights.

Philadelphia indie rockers Palm open.

5/17: Charly Bliss, Empty Bottle

Charly Bliss frontwoman Eva Hendricks told us regarding the band’s live show, “Our live show is probably the most important aspect of making music for us, so we always want our shows to be as satisfying and fun as possible!” Their debut album Guppy (one of our favorites of 2017) was already fun and continues to satisfy well into 2018. There’s a reason this show is sold out.

Punk band Skating Polly opens.

5/18: Objekt, Smartbar

We haven’t heard much from avant techno genius Objekt since his great 2014 debut Flatland--apart from a few singles here and there. Maybe he has new material. What better place to debut it than Smartbar? Mixes of his old material works, too.

Pre-party for the Movement festival in Detroit. Stripped-down techno DJ Helena Hauff headlines. Local busy and prolific DJ Justin Aulis Long opens.

5/18: Raekwon the Chef, Promontory

Raekwon is responsible for some of the best rap albums ever, whether as a member of the Wu-Tang Clan or solo. Next Friday, he’ll be playing solo hits and Wu Tang Clan songs with the Mo Fitz Band backing him up. Though he may start with tracks from his most recent album The Wild, he should eventually delve into 36 Chambers and Cuban Linx classics, perhaps even performing for other Wu-Tang members, dead or alive.

Raekwon also is somehow playing another set this night at Bourbon on Division. DJ Ryan Ross opens that one.

5/18: Fever Ray, Metro

A Fever Ray show is not to be taken lightly, since Karen Dreijer doesn’t play very often, either as a part of The Knife or with her solo project. Plunge, last year’s follow-up to 2009′s self-titled album, was a stunning achievement. It was one of our favorite albums of last year due to its outspoken politics, frank sexuality, and chaotic beats. She revealed her live band members in a video for standout “IDK About You”.

There are two shows: one at 6:00 P.M. and one at 10:00 P.M.

5/19: TesseracT, Metro

British band TesseracT prove that djent prog metal can actually be tasteful in addition to good. Their masterpiece, 2013′s Altered State, was cohesive and actually beautiful at times, particularly thanks to vocalist Ashe O’Hara. Over the past two albums, including last month’s Sonder, the band has reunited with old vocalist Daniel Tompkins. While his vocals are more cliche whiny than O’Hara’s, the band’s instrumentation remains vital.

Australian metal guitarist Plini and rockers Astronoid open.

5/19: Pig Destroyer, 3 Floyds

Alexandria grindcore masters Pig Destroyer last left us in 2012 with their opus Book Burner. It was fast, violent, and truly dangerous-sounding. Next Saturday, they’re one of many bands playing 3 Floyds’ Dark Lord Day, which we’ve covered twice. To a drunk crowd wanting to hear favorites, expect them to...well...bounce all over the place.

Death metal band Dying Fetus headlines. The abrasive Revocation, blackened thrashers All Hell, jazz-metal outfit Brain Tentacles, and blackened doom two-piece Canyon of the Skull also play.

5/19: Elizabeth Cook, City Winery

Two years ago, we caught singer-songwriter Elizabeth Cook admirably perform songs from her latest release Exodus of Venus, an album inspired by death and tragedy. Over the past year or so, however, she’s been performing lots of new songs that should be out on a new record this fall. She should pepper them into her back catalog next Saturday.

Singer-songwriter Caleb Caudle opens.

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everyonegetshugsandturnsintotang · 6 years

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#VIjay Iyer Sextet #Far From Over #Avant-Garde Jazz #New York #ECM #2017 #2017 Good Albums

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lyssahumana · 7 years

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#Vijay Iyer #Vijay Iyer Sextet #record covers

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sivavakkiyar · 4 years

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"Many of us are here because we’ve become successful in that very context. That’s how we got into Yale, by being voted most likely to succeed; and that may be what emboldened some of us to show our faces here this weekend, because we actually have something to show for ourselves, that somehow in the years since we first dined at the Alternate Food Line we’ve managed to carve a place for ourselves in the landscape of America. Whether you attribute it to some mysterious triple package or to your own Horatio Alger story, to succeed in America is, somehow, to be complicit with the idea of America—which means that at some level you’ve made peace with its rather ugly past."

#vijay iyer #Asian American #Spotify

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theloniousbach · 4 years

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Into the New Year for Jazz

I have submitted the following to a dear friend who runs the jazz show on Toledo Public Radio for inclusion on the website.

INTO 2020 WITH JAZZ SPECTRUM

Even as I gladly accept these invitations to sum up the year or, even this time, the decade, I don’t quite do as I’m told and so don’t color between the lines I’ve been given. Sorry.

Like you, our listeners, I rely on Jazz Spectrum to introduce me to current developments and to fill in gaps between 1982, say, and 2015 when, alas, jazz wasn’t my primary listening. It is again in no small measure due to this show that I am back in this wonderful game. I am developing enough current knowledge to be on the lookout for current players (let’s start with the members of Artemis who do fascinating work individually and collectively--more shortly) and trends, but I’m not auditioning dozens of recordings every week, putting together a four hour show, and doing all the work that makes the show such a resource.

So I don’t have a best of 2019 or best of the 2010s to offer. But, I do have some thoughts.. So, bear with me, or don’t and go re/read our host’s more fine grained observations.

In thinking about the impact on hip hop on this music, I offhandedly texted my old friend that jazz has always been fusion music. I didn’t happen to have a teenager bring home the latest incarnation of African American popular music, rhythm, and rebellion, so I’m learning about it indirectly when I see Terence Blanchard, Robert Glaspar, and Stefon Harris. Brilliant players all of them with crack bands and a deep grounding in the wider tradition from which they can bring the new energy into the music. Today I prefer pianos to guitars and acoustic instruments to electric ones, with little affinity for vocoders, looping, and effects. The beats are infectious and jazz drummers are amazing for their huge ears and magical abilities to move the beat around, using the timbres of the drums to comment on everything the rest of the band is doing. As an example I was just able to watch Nate Smith+Kinfolk via live streaming from our local club. He was a dynamo with as much energy and power as the rest of the band--solid and smooth as they are--combined.

Hip hop has to be part of what propels this rhythmic invention. If my kid perversely stuck with our traditional English and Celtic folk music, then, that I don’t get hip hop from him is my problem, not jazz’s. I embraced my generation’s fusions--rock, funk--and went back to Latin, Afro Cuban, rhythm and blues, show tunes, Third Stream, gospel, blues, and ragtime and saw them come into jazz. So I’m prepared intellectually at least to welcome these latest developments. These fusions have made and remade jazz, so yes it’s always been fusion music.

But let me borrow an idea from my quarter century looking at evolutionary biologist Edgar Anderson who worked at the Missouri Botanical Garden from 1922-1969. His signature idea was that repeated backcrossing is as important a source of genetic variation as mutations and thus gives natural selection something to work on. To apply it to jazz, it was jazz before and after Dizzy Gillespie started playing with Chano Pozo, but now we have Cuban and Latin and African rhythms in everyone’s musical DNA. All sorts of tunes from all sorts of players now can just naturally take on a Latin feel. It’s part of jazz that then continues to listen with its big big ears.

What has always excited me are these hybridizations and that is what will continue to invigorate the music into the 2020s.Kodri Gopalnath who died this October was not a jazz musician, but he brought the saxophone to Carnatic (Indian) classical music. Rudresh Mahanthappa studied with him and brought that tradition into his playing. It’s there now all the time whether in his reimagining of Charlie Parker on his 2015 album “Bird Calls” or with Rez Abassi in the Indo-Pak Coalition or his own “just jazz” gigs. This quote from his Wikipedia article captures this idea of introgressive hybridization: “In a 2011 interview with Westword newspaper about the resulting album, Samdhi, Mahanthappa said, "my idea was to take whatever I learned—take that knowledge—and really put in a setting that has nothing to do with Indian classical music.” https://en.wikipedia.org/wiki/Rudresh_Mahanthappa

Since some of Miles Davis’s 1970s work incorporated sitars and tablas and remembering John Coltrane’s “India,” this music has been in the mix for decades. It prompted a “Miles from India” two-CD set from 2008. I try to keep an eye on Mahanthappa, Abassi (recording 1970s fusion tunes acoustically is damned clever), and especially Vijay Iyer to watch how jazz varies and is enriched. I saw Iyer with his trio in 2016 catching extended hypnotic improvisations, one phased into “Epistrophy” before churning on. He has recorded in lots of other settings, including duos with Wadada Leo Smith and Craig Taborn and with a sextet. It is important music.

That’s one hybridization that backcrosses into jazz. Another is with Middle Eastern, including Israeli, music.Abdul Al-Malik recorded on oud as well as bass in the late 1950s and early 1960s and Anour Brahem played oud with Dave Holland and Jack DeJohnette on “Blue Maqams” in 2017. Those are first generation crosses. It’s when someone like Omer Avital plays jazz informed by his Israeli upbringing that the introgression happens, when there are new scales, new rhythms to incorporate. Avital’s own albums and with the OAM trio (including a set with the intriguing tenor Mark Turner) are favorites. I also owe Jazz Spectrum an exposure to the Chicago trumpeter Amir ElSaffar and his Two Rivers Project which explores his Iraqi roots in a jazz context.

Anat Cohen is an exuberant player, exuding joy at what she and her bands do. She has played with her brothers, Avishai and Yuval, with lots of Israeli in the mix, but she has Brazilian and Edith Piaf too. She is in the multinational band Artemis: two Canadians--leader Renee Rosnes and trumpeter Ingrid Jensen, Chilean Melissa Aldana on tenor, bassist Noriko Ueda from Japan, and the lone American, and the amazing drummer Alison Miller. Their debut album, probably with Cecile McLorin Salvant, will be a highlight of the coming year as their run here in St. Louis this October was.

I am particularly astounded by what drummers are doing these days. Of course, there are sources--Max Roach, Jack DeJohnette’s insistent but subtle cymbals--and Art Blakely and Elvin Jones were not simply powerful engines driving the band. But Miller is a fine example of, call it, “melodic drumming” where each drum/brush stroke is perfectly placed on the drum head, cymbal, even rim or side of the drum, to deliver not just a beat but a harmonic/melodic comment on the rest of the band. There are so so many players and they make just about every show I see special. Witnessing the magic in the making is why live performance is so much richer than recordings.

But to return to hybridizations, starting at least with Mid East ones, let me focus on London as a key world center for this music. Precisely as the still Metropolitan center of a thankfully fading empire (Imagine there’s no countries/It isn’t hard to do/Nothing to kill or die for), it is a hybrid zone. Yazz Ahmed is a Bahrani-Brit whose trumpet playing is enriched as she explores her Arab heritage. She does exciting stuff and has followed up “La Saboteuse” with “Polyhymnia” this year. Shabaka Hutchings has Barbadian heritage and brings that to his tenor and several key projects in the London scene. I’m drawn to the intensity of Sons of Kemet where he solos over Theon Cross’s tuba and two drummers, but Hutchings also works with The Comet Is Coming and The Ancestors. I’m a sucker for low brass, so I keep an eye on Cross too and he has his own FYAH released and is in the SEED Ensemble.

That London is a major jazz center is a development worth monitoring. I think it speaks to the vibrancy of this music and the role of these hybridizations in keeping it so exciting.

I am eager for the 2020s.

#2019 #wgte #jazz

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sneek-m · 7 years

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Far from Over by Vijay Iyer Sextet [ECM, 2017]

#Vijay Iyer Sextet #Now Playing

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jbgravereaux · 7 years

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Vijay Iyer Sextet - Far From Over Album: Far From Over (2017) Label: ECM Records Alto Saxophone – Steve Lehman Cornet, Flugelhorn, Electronics – Graham Haynes Double Bass – Stephan Crump Drums – Tyshawn Sorey Piano, Electric Piano – Vijay Iyer Tenor Saxophone – Mark Shim

#Vijay Iyer Sextet #Far From Over #ECM #Steve Lehman #Graham Haynes #Stephan Crump #Tyshawn Sorey #Vijay Iyer #Mark Shim

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thoregil · 7 years

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Etter et par dagers pause var Vijay Iyer tilbake med en konsert med sin sekstett. Fra sin Robert Fripp-aktige posisjon ute i halvmørket ute på kanten styrte han bandet gjennom en høyenergisk rekke numre av det livsbejaende slaget. Trommeslager Tyshawn Sorey fungerte som en kraftfull og svært så hardtslående motor bak det hele, det var vel grunnen til at resten av bandet også måtte mikkes opp for ikke å drukne helt i trommene.

Vijay Iyer – piano

Stephan Crump – kontrabass

Tyshawn Sorey – trommer

Steve Lehman – altsax

Mark Shim – tenorsax

Graham Haynes – trompet

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2017-07-21 Vijay Iyer Sextet – Storyville, Moldejazz Etter et par dagers pause var Vijay Iyer tilbake med en konsert med sin sekstett. Fra sin Robert Fripp-aktige posisjon ute i halvmørket ute på kanten styrte han bandet gjennom en høyenergisk rekke numre av det livsbejaende slaget.

#Moldejazz #Storyville #Vijay Iyer Sextet

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uartslibraries · 5 years

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Far From Over

by Vijay Iyer Sextet

call # CD8487

#NewBooks #NewResources #UArts #UArtsLibraries #UArtsMusicLibrary #jazz

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chloe-seviche · 7 years

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2017

Finally i can make my chart of my favorite music of this year.

Tbh I enjoyed more R&B music than other years. Also some of my faves released some shit this year.

Anyways, I can´t only choose 10 or even 20 albums so I divided it like:

Albums I enjoyed it:

• Actress - AZD • Alexandria Savior - Belladona of Sadness • Alice Glass - Alice Glass EP • Annie Hardy - Rules • Beck - Colors • Bob Dylan - Triplicate • Café Tacvba - Jei Beibi • Chicano Batman - Freedom is Free • Cults - Offering • Deafmute - sundowner • Dua Lipa - Dua Lipa • Fleet Foxes - Crack-Up • Future Islands - The Far Field • Gorillaz - Humanz • Harry Styles - Harry Styles • Jacques Greene - Feel Infinite • Kasabian - For Crying Out Loud • Kelela - Take me Apart • Lee Gamble - Mnestic Pressure • Morrissey - Low in High School • Portugal. The Man - Woodstock • Ray Davies - Americana • Ryuichi Sakamoto - async • Sarah Davachi - All my Circles Run • Taylor Swift - reputation • The Darkness - Pinewood Smile • U2 - Songs of Experience • Wire - Silver/Lead • Woods - Love is Love

Albums I REALLY LIKED:

• Airhead - Shaded • Arca - Arca • Arcade Fire - Everything Now • Ariel Pink - Dedicated to Bobby Jameson • Belle & Sebastian - How to Solve Our Human Problems • Blue Hawaii - Tenderness • Christian Scott aTunde Adjuah - The Emancipation Procrastination • Foo Fighters - Concrete and Gold • Haim - Something to Tell You • Ibeyi - Ash • Jim James - Tribute to (Reissue) / Tribute to 2 • Kelly Lee Owens - Kelly Lee Owens • Lana del Rey - Lust for Life • Liam Gallagher - As You Were • Noel Gallagher's High Flying Birds - Who Built the Moon? • Queens of the Stone Age - Villians • Songhoy Blues - Resistance • Stars - There Is No Love in Fluorescent Light • Tara Jane O'Neil - Tara Jane O'Neil • The Beatles - Sgt. Peppers Lonely Hearts Club Band (2017 MIX) • The Horrors - V • The National - Sleep Well Beast • The War on Drugs - A Deeper Understanding • The xx - I See You • Thurston Moore - Rock n Roll Consciousness • Torres - Three Futures • Yumi Zouma - Willowbank

Albums I LOVED WITH ALL MY HEART:

• Ambrose Akinmusire - A Rift in Decorum: Live at the Village Vanguard • Bob Dylan - Trouble No More The Bootleg Series Vol. 13 / 1979-1981 • Chelsea Wolfe - Hiss Spun • Courtney Barnett & Kurt Vile - Lotta Sea Lice • Fever Ray - Plunge • Japanese Breakfast - Soft Sounds from Another Planet • Kaitlyn Aurelia Smith - The Kid • Karen Elson - Double Roses • Kendrick Lamar - DAMN • Kesha - Rainbow • King Gizzard & the Lizard Wizard - Flying Microtonal Banana • King Gizzard & the Lizard Wizard - Polygondwanaland • King Gizzard & the Lizard Wizard - Murder of the Universe • LCD Soundsystem - american dream • Mount Kimbie - Love What Survives • Niia - I • Nine Inch Nails - Add Violence • Paramore - After Laughter • Robert Plant - Carry Fire • Sheer Mag - Need to Feel Your Love • Slowdive - Slowdive • St. Vincent - MASSEDUCTION • Sufjan Stevens - The Greatest Gift • The Doors - The Doors 50th Anniversary Edition • The Doors - Strange Days 50th Anniversary Edition • Thundercat - Drunk • Tyler, the Creator - Flower Boy • Vince Staples - Big Fish Theory • Wolf Alice - Visions of a Life

MY ABSOLUTE FAVORITES, THE BEST OF THE BEST

• Angel Olsen - Phases • Bully - Losing • Cécile McLorin Salvant - Dreams and Daggers • Charlotte Gainsbourg - Rest • David Bowie - Lodger (Visconti 2017 Mix) • Father John Misty - Pure Comedy • Feist - Pleasure • Grizzly Bear - Painted Ruins • Julien Baker - Turn Out the Lights • K. Michelle - Kimberly: The People I Used to Know • King Gizzard & the Lizard Wizard - Sketches of Brunswick East • King Krule - The OOZ • Lorde - Melodrama • Margo Price - All American Made • Marika Hackman - I'm Not Your Man • Moses Sumney - Aromanticism • Nazoranai - Beginning to Fall in Line Before Me, So Decorously, the Nature of All That Must Be Transformed • Perfume Genius - No Shape • Sharon Jones & the Dap-Kings - Soul of a Woman • Steven Wilson - To the Bone • The Beach Boys - 1967 - Sunshine Tomorrow • Vijay Iyer Sextet - Far From Over • Waxahatchee - Out in the Storm

EDITED:

• Björk – Utopia IN THE BEST OF THE BEST (thanks @shayminisbae)

2017 was a good year in music, and as always I want to listen to more, please tell me your faves from this year and I’m gonna check them!!!

#i would like to tag all the artist but meh #and yes st annie isn't in my faves i loves masseduction but not that much #lmao #see you next year

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dannymoney · 7 years

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50 Favorite Albums of 2017

There’s no DAMN. on this list. Is Kendrick’s album good? Yes. Does it need more attention from me? No. Could it be on this list? Sure. Do I really like the album all that much? Let’s put it this way: I can’t see past the fact that his music has a real strong tendency to bore me its own indulgence. Long running times, high-concept narrations, and an especially annoying tendency to consistently hate himself while also loving himself - the schtick has worn thin, you’re of two minds, troubled, I get it.

But you know what high-concept record never bored me? Goths by The Mountain Goats. Funny, tender, sad portraits of aging men and women delivered by a tight three-piece band and all the right flourishes of strings, horns, and choirs. The song-writing is left-field, the piano tones are a lounge-rat’s dream, and Darnielle’s singing has never been better. This is a generous band at its considered peak performing songs shaped, crafted, and sung by a seasoned pro. And though it’s John Darnielle’s 16th LP, he sounds fresh as ever. His last album, Beat the Champ, felt constricted by its concept, but Goths sounds set free. Perhaps he’s more goth than wrestler, I can’t know for sure, but each of these songs holds a specific world within a larger, equally specific world and it’s somewhat hard to imagine that Darnielle hasn’t lived these lives, although it’s impossible that he has, so it must be his unshakable confidence in his material that truly allows the album to feel real, almost like pages torn from myriad diaries.

There’s also a shit-load of hooks embedded in the complex chord structures of these tunes, and all of them are not strictly musical. You’re ushered into Goths via the laid-back assertiveness of the band’s playing but you really stick around listen after listen to pick up on the jokes and references, the plot twists and character development, in addition to the sing-along choruses. It’s a testament to Darnielle’s songwriting that, having never been a goth myself, I am emotionally invested in each modern fairy-tale (fable?) featured on this very human album. We all have similar stories and, yes, death will get us all. But we might as well learn to live without worrying about dying, even if it’s a little late in the game for some of us to start. An overlooked, understated gem, Goths is an album I’ll be listening to long after I’ve listened to DAMN., forwards or backwards.

All these albums are worth your time and I suggest, humbly, that you pick one and listen to it.

1. Goths - The Mountain Goats 2. Capacity - Big Thief 3. No Shape - Perfume Genius 4. Robyn Hitchcock - Robyn Hitchcock 5. Dedicated to Bobby Jameson - Ariel Pink 6. Plunge - Fever Ray 7. Utopia - Bjork 8. Reassemblage - Visible Cloaks 9. Far From Over - Vijay Iyer Sextet 10. All the Way - Diamanda Galas 11. Black Origami - Jlin 12. This Old Dog - Mac Demarco 13. Daylight Ghosts - Craig Taborn 14. Phases - Angel Olsen 15. Out in the Storm - Waxahatchee 16. Sleep Well Beast - The National 17. Future - Future 18. The Possum in the Driveway - Mark Mulcahy 19. Nothing Feels Natural - Priests 20. Hug of Thunder - Broken Social Scene 21. Reaper - nothing,nowhere. 22. american dream - lcd soundsystem 23. More Life - Drake 24. Mirror Reaper - Bell Witch 25. Big Fish Theory - Vince Staples 26. Gnosis - David Virelles 27. Rocket - (Sandy) Alex G 28. Melodrama - Lorde 29. Ctrl - SZA 30. II - The Courtneys 31. Guppy - Charly Bliss 32. Bill Orcutt - Bill Orcutt 33. Arca - Arca 34. Soul of a Woman - Sharon Jones & the Dap Kings 35. Need to Feel Your Love - Sheer Mag 36. Sidelong - Sarah Shook & The Disarmers 37. Doris & the Daggers - Spiral Stairs 38. Hairshirt of Purpose - Pile 39. A Shadow in Time - William Basinski 40. Harmony of Difference - Kamasi Washington 41. We All Want the Same Things - Craig Finn 42. mono no aware - Various Artists 43. Unfold - The Necks 44. Near to the Wild Heart of Life - Japandroids 45. Make It Be - R. Stevie Moore/Jason Falkner 46. A Crow Looked At Me - Mount Eerie 47. No Home of the Mind - Bing & Ruth 48. Cry Cry Cry - Wolf Parade 49. In Between - The Feelies 50. Nightmare Logic - Power Trip

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burlveneer-music · 6 years

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My WVUD playlist, 1-2-2018

Roswell Rudd, Steve Lacy, Misha Mengelberg, Kent Carter & Han Bennink "Twelve Bars" Roswell Rudd & Toumani Diabaté "Malijam" Roswell Rudd, Jamie Saft, Trevor Dunn, & Balázs Pándi "The Bedroom" Binker and Moses "Intoxication from the Jahvmonishi Leaves" Jaimie Branch "Theme 001" Cortex "Chaos" Mathilde Grooss Viddal: Friensemblet "Parfois c'est plus fort que toi (feat. Naïssam Jalal & Øyvind Brække)" Gaël Horellou "Ritour" Okay Temiz / Johnny Dyani "Doktur" Esperanza Spalding "Heaven In Pennies (feat. Robert Glasper)" McCoy Tyner "Song of the New World" Airto Moreira "Misturada" Gaia Wilmer Octet "Criancada" Jessica Lurie Ensemble "3 X Heather's 17" Vijay Iyer Sextet "Into Action" Kyoto Jazz Sextet "Mission" Warren Wolf "Havoc"

#wvud #playlist #avenue c #jazz

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raspberryjones · 6 years

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2017, In Review

If I am being honest, the #1 thing I will remember about 2017 is the one thing I want to forget about it: the rage and the hatred — specifically, my rage and my hatred. It had an intensity I’d never previously experienced, and hope never to again. But, of course, it is incorrect to place this emotion in the past. My anger has only slightly dissipated, and continues to burn every damn day. That said, it hasn’t just been a corrosive force, but a teaching tool as well, demonstrating that hatred born, suddenly and intensely, of a particular target and singular focus, can easily spread outwards, and will sooner or later turn back in on its source. Which is where I find myself now, exhausted and no better off.

I write this as a pre-amble to my list of favorite music/art because that is this year’s context - because this time around, the culture I admired, was inspired by and engaged with had to serve a (slightly?) different purpose. Or, maybe, a more intense one. There's always the question of how much a critical ear is guided by personal circumstances, and how much by social influence; it is a partner to the artistic process, always has and always will be. (One reason I continually dismiss the recurrent “end of criticism” jeremiads, because the doomsayers are merely writing obituaries for a particular process of thought or distribution system, rather than the art of the crit itself.)

But once I found some semblance of sea legs to ride through the current epoch — “some semblance,” because I believe not a single living creature shall escape The Now unaffected — I recognized a need for another critical way of looking at how/what we create, and at the purpose behind which we creatively consume. A way of seeing and hearing that not only anticipates the narrative but also lays groundwork for its next chapter. This is, of course, an imperfect measure, because culture doesn’t move in predictable directions, and almost any 20-20 prophet is likely to either be a speculator or a fool. Often, but not always.

Yet, if there was one underlying principle that guided me in 2017, it is to try and understand of what will come after the anger and the hate. Some of the answers were aspirational, some of them were reflexive, and others filled in important parts of the backstory that were missed because I was too busy paying attention to the shiny expensive things in the store window. Maybe it’s just an exercise of trying to steer the anger towards a more useful place.

(Image: Cauleen Smith, “I Have Nothing Left To Give,” flag at the Whitney Biennial 2017)

My 20 Favorite New Albums & EPs (alpha order): Beast, Vol. 1 & Vol. 2 (Pre-Echo) - Koen Holtkamp in Reichian techno mode Bitchin Bajas, Bajas Fresh (Drag City) - more here Brooklyn Raga Massive, Terry Riley: In C (Northern Spy) - back to the source Caterina Barbieri, Patterns of Consciousness (Important) - synth minimalism Celestial Trax, Nothing is Real (Purple Tape Pedigree) - if Dummy was now Delia Gonzalez, Horse Follows Darkness (DFA) - more here Earthgang, Rags (Spillage Village) - new ATLiens Four Tet, New Energy (Text) - more here Hampshire & Foat, Galaxies Like Grains of Sand (Athens of the North) - soft-focus apocalypse with improv Hypnotic Brass Ensemble, Book of Sound (Honest Jon’s) - brass as lense Ibeyi, Ash (XL) - now that’s what I call “pop” Jack Peoples, Laptop Cafe (Clone) - Drexciyan discoveries Jlin, Black Origami (Planet Mu) - more here Kaitlyn Aurelia Smith, The Kid (Western Vinyl) - more here Kendrick Lamar, Damn. (TDE) - legendary status Mr. Mitch, Devout (Planet Mu) - more here Ragnar Grippe, Sand (Dais)** - art-gallery percussion and minimalism UMFANG, Symbolic Use of Light (Ninja Tune) - ambient minimal techno turns Vijay Iyer Sextet, Far From Over (ECM) - when funk veers

(** officially a reissue, but originally a minutely pressed 1977 record, and its impact on me this year was oversized - possibly the single long-playing recording I most listened-to this year - thank you Adam.)

More (New LPs & EPs, Comps, Reissues): Alice Coltrane, The Ecstatic Music of Alice Coltrane Turiyasangitananda (Luaka Bop) // Banana, Live (Leaving) // Bjørn Torske & Prins Thomas, Square One (Smalltown Supersound) // Carlos Nino & Friends, Going Home (Leaving) // Call Super, Arpo (Houndstooth) // Colleen, “a flame my love, a frequency” (Thrill Jockey) // Courtney Barnett & Kurt Vile, Lotta Sea Lice (Matador) // Dawit, Loose Joints vol. 1 (Soundcloud) // DJ Python, Dulce Compañia (Incienso) // DJ Sports, Modern Species (Firecracker) // Dominique Lawalree, First Meeting (Ergot) // Hector Zazou, Bony Bikaye & Cy1, Noir Et Blanc (Crammed) // Hello Skinny, Watermelon Sun (Brownswood) // Hieroglyphic Being, Sarathy Korwar & Shabaka Hutchings, “a.r.e. project” (Ninja Tune) // Ifriqiyya Electrique, Rûwâhîne (Glitterbeat) // James Holden, The Animal Spirits (Border Community) // Jay Glass Dubs, Dubs (Ecstatic) // Joshua Abrams & National Information Society, Simultonality (Eremite) // Kelly Lee Owens, “s/t” (Smalltown Supersound) // Laraaji, Bring on the Sun (All Saints) // Les Filles De Illighadad, Eghass Malan (Sahel Sounds) // Moses Boys, Absolute Zero (Exodus) // Nicole Mitchell, Mandorla Awakening II: Emerging Worlds (FPE Records) // Pauline-Anne Strom, Trans-Millenia Music (RVNG) // Rainforest Spiritual Enslavement, Ambient Black Magic (Hospital Productions) // Roscoe Mitchell, Bells For the South Side (ECM) // Sudan Archives, "s/t” (Stones Throw) // Tom Rogerson & Brian Eno, Finding Shore (Dead Oceans) // Vorhees, Black Horse Pike (Styles Upon Styles) // Yasuaki Shimizu, Kakashi (Palto Flats) // Zara MacFarlane, Arise (Brownswood) // VA, Outro Tempo: Electronic And Contemporary Music From Brazil 1978-1992 (Music For Memory) // VA, Ron Trent pres. Prescription: Word, Sound & Power (Rush Hour) // VA, Ultimate Kwaito Hits (Universal South Africa)

Other Musical Year-End Summations I Produced or Contributed To: NPR Music: Our Favorite Dance & Electronic Albums of 2017 The Lot Radio: The Morning After Show - “The Year, After” episode Also: NPR Music: 50 Best Albums of 2017 NPR Music: 100 Best Songs of 2017

Three 2017 Playlists (Spotify): 2017 Raspberry Tunes - verse-chorus-verse, etc. 2017 Raspberry Trax - the dance-floor experience 2017 Raspberry Works - the “Morning After Show”/post-genre headspace

Seven 2017 Stories (I Wrote, Edited and/or Produced): Songs We Love: Ron Trent Shares Some Deep House ‘History’ (NPR Music) Philip Glass on Listening (and Composing) at 80 (Sonos) Give It Up For DJ Blackface (NPR Code Switch) Jazz Master, Humble Badass: Remembering Geri Allen (AFROPUNK) First Listen: Kaitlyn Aurelia Smith, 'The Kid' (NPR Music) How Vangelis’s Cult Blade Runner Score Became a Classic (Vulture) 'There Is No Done': Gavin Rayna Russom On The Dialogue Between Creation And Identity (NPR Music)

Maximum Impact (books, shows, songs, sites, memes): Anna Wise // Arthur Jafa, “Love is the Message, the Message is Death” // B+, “Ghost Notes” // Bandcamp // “Black Radical Women 1965-85″ // Black Thought, “Funk Flex Freestyle” // Bottle Tree, “Open Secret” // Cardi B, “Bodak Yellow” // Carl Craig, “Domina (Versus version)” // Christian Scott Adjuah (feat. Elena Pinderhughes), “Encryption” // Devin Allen, “A Beautiful Ghetto” // Discwoman // Detroit Gospel Reissue project // Four Tet summer residency @ Analog Brooklyn // Geri Allen RIP // Goldie, “Redemption” // Jamie 3:26, “Testify” // James Baldwin // Jessie Reyez // Jim O’Rourke, “Fast Car” // Kara Walker, “Sikkema Jenkins and Co. is Compelled to present The most Astounding and Important Painting show of the fall Art Show viewing season!” // Kamasi Washington & A.G. Rojas, “Harmony of Difference” // Kaytranada // Khalil Joseph // KH, “Question” // John Akomfrah // “The Left-Overs” // London’s “jazz” scene // Neva’s playlist // Prospect 4 New Orleans // Rashaad Newsome (at DLectricity) // Ruth Azawa // Smithsonian National Museum of African American History and Culture // “Sonic Rebellion: Music as Resistance” (MOCAD) // South African house // The Lot Radio

#2017 #year end

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